Saturday, 26 March 2022

Wild Weather at Spring Bank primary school


Sally Bavage writes:

We basked in hot sunshine at an outdoor assembly. In March! But Wild Weather poetry followed a study of the topic in the previous term, and then minds had turned more to hurricanes and tornadoes, along with snow, blizzards and torrential rain.

Our outdoor sharing of the work class 3 had written, redrafted and produced in best copy was a glorious morning in the safety of an outdoor assembly to which parents could finally attend in these allegedly post-Covid times. As usual, James Nash, local writer, author and our commissioned poet, had started with these seven- and eight-year-olds exploring inspiration and ideas and trying out some lines. They crafted their ideas by drafting and redrafting – and they had actually thought this was both essential and fun.

Finally, they had carefully rehearsed their presentations to the full class and appeared so confident in reading out their best work or lines to the invited audience of parents and other school staff. As one little girl confided to me afterwards, she had been terrified – but her confident performance and smile after her turn showed how valuable the experience had been. Another was keen to show me how she had typed up her work and others showed me the illustrations they had made for their clearly-valued poems.

Headteacher Sarah Hawes was once again so pleased with the work and the obvious joy on display. And class teaching assistant Katy commented on the “quality of the language that the youngsters had used” in their work. She knew from past experience that this shows up in their work afterwards, as well as “the increased self-confidence in themselves and their work.”


Teacher Luke Wrankmore with James Nash
James collected feedback from the petite poets together for Headingley LitFest:

Best thing:

Editing – changing things to make the better

Redrafting and putting into verses

I loved writing out my ideas

What I have learned:

Poems don't have to rhyme

Poems are GOOD

Sharing with others:

Show other people how you feel

Gaining in confidence

What you will remember

How to create a structure for a poem

Better at sharing

Thank you for another excellent workshop this week. We have had parents evening this week and several parents told me how their children have been writing poems at home - so you've definitely had a positive impact once again!

Luke Wrankmore

Class teacher

James has such an easy relationship with these small writers; they trust him and take their cue to perform with extraordinary aplomb - and it is hard to believe they are only seven or eight years old! One line from a poem: 'I come every year to blow your socks off' may have been about the wind but I think best describes the effect that James has on the young people. 


Sunday, 13 March 2022

Ekphrasis: A Poetry of Seeing

 

Ekphrasis: A Poetry of Seeing – Douglas Sandle

 

Richard Wilcocks writes:

 

Douglas Sandle is a retired chartered psychologist, researcher and academic who worked for much of his career in art, design and architecture at what was once Leeds Metropolitan University and is now Leeds Beckett. This history was very apparent in Headingley Library on Thursday 10 March when, with the help of a Powerpoint display, he revealed the depth of his knowledge.

 

He made it clear that there is nothing new about Ekphrasis, travelling back to Ancient Greece to make his point by reading a few lines taken from a lengthy section of Homer’s Iliad which describe the shield of Achilles. The word was originally applied to the skill of describing a thing in vivid detail:

 

And first Hephaestus makes a great and massive shield

blazoning well-wrought emblems all across its surface,

raising a rim around it, glittering…

 

The word gradually became used just for poetry (sometimes prose) which describes, or is inspired by, works of art. After showing some entertaining examples of works of art which employ optical illusions, he moved on to more modern examples of ekphrastic poetry, beginning with a poem inspired by a painting by the French artist Jean-François Millet, entitled Man With A Hoe. Written by the American poet Edwin Markham, it caused something of a sensation after it was published in the San Francisco Examiner and led to a debate on the conditions and exploitation of agricultural workers at that time. It was used in campaigns to support Labour rights and for better working conditions, which led to changes. 

 

 

Man with Hoe

 

After seeing the famous Landscape with the Fall of Icarus by Pieter Breughel the Elder on the screen and listening to Douglas Sandle’s eloquent commentary on the poem which refers to it – W H Auden’s Musée des Beaux Arts, we moved on to a survey of Ekphrastic poetry today. He mentioned in particular the contemporary competitions for Ekphrastic poetry, including one by the Poetry Society which included children and younger writers. Carcanet Press in 2015 published a glossy 100-page book of poems  by Owen Lowery, along with the art works by Paula Rego which had inspired them. There was a special mention of the online monthly publication The Ekphrastic Review, founded by ekphrastic writer Lorette Lukajic, which has published two of Douglas Sandle’s own poems.

 

One of these was Liquorice Allsorts, the poem inspired by the Patrick Hughes work of art with the same name. Another was inspired by one of Hughes’s ‘rainbow’ paintings – Leaning on a Landscape. He read several poems with Manx connotations which connected with his own childhood, then arrived at a group of images by his sculptor brother, Michael Sandle RA. One of these, Der Trommler (The Drummer), which is exhibited in Tate Britain, I found particularly memorable:

 

 

It comes from a distance far away,

resonating in the head. A troubled rumble

that grows into a drum deep boom.

The drummer marches and treads into view.

Closer now, his hands flick, wrists rotate,

his helmeted and faceless head

stares down at his muscular body,

solid and taut as steel.

This is no dancing rhythm or playful beat,

Nor a rat- a-tat- tat for acrobatic tricks,

But a doom-laden call to arms,

Its awesome prescience echoing

by the rivers and dark marshes

of the Styx

 

 

 

 

Wednesday, 9 March 2022

George Orwell in Headingley – the Walk and the Talk

  Richard Wilcocks writes:

A lot more people, in Leeds anyway, now know about Orwell’s brief residence in Headingley, and have hopefully read The Road to Wigan Pier to add to their knowledge of his other works. People were invited to walk from where he stayed in 1936 to Headingley’s main community centre on Saturday, 5 March 2022.

 

The walkers all arrived on time outside 21 Estcourt Avenue. They stood on the pavement, but also between parked cars, several dozen or so people, a dog and a baby in a buggy. At one thirty actor Jem Dobbs took up his position outside the front door, which had recently closed behind one of the student residents who had been showing him around the house where he had lived for his first nineteen years.

 

He spoke for ten minutes about his mother, who still lives nearby and who is one hundred and one, his father and his childhood, which was rather more free range than those of today. “I spent most of my life outside the house,” he told us. “Maybe if it was like that in 2021 my parents would be accused of neglect and I would be taken into care,” he joked. 

 

“I was always in the road at the back with a football, with friends, in the woods at Beckett Park or climbing over the wall to get into the rugby ground. Once or twice the police brought me home. I was a pupil at Bennett Road Primary School, which is now the HEART Centre, where I got the cane plenty of times. I was a juvenile delinquent!”

 

Les Hurst spoke next, very briefly, about how George Orwell had stayed in the house, at the time occupied by his sister Marjorie and her husband Humphrey Dakin. He had worked on his notes for The Road to Wigan Pier, possibly on the top floor, and had been taken on trips to the Brontë Parsonage Museum in Haworth and to nearby Kirkstall Abbey.

 

There were a few contributions from the crowd, the most memorable one being from Ray Brown, who had rented a room in Harrogate in the sixties. The landlord, Humphrey Dakin, was severely war-wounded and had a glass eye. This sometimes fell out when he produced tears. He was remembered crawling about on a front room carpet searching for it. The walk took ten minutes, and at two o’clock everybody was sitting in the Shire Oak Hall of the HEART Centre, joining those already there. It was full.

 

Les Hurst from the Orwell Society is an excellent lecturer. Without using more than a basic crib sheet which was distributed to the audience, he took us through the chapters of Part One of The Road to Wigan Pier. Here is some of what was on it:

 

1.   Lodging houses and the lives of men without families

2.   Miners at work (the other chapters are all outside work)

3.   The miner at home

4.   Housing conditions (Slums, Caravans, Council estates)

5.   Unemployment

6.   Nutrition

7.   Industrial panorama

 

We heard about how Orwell’s progress on his investigative journey, which began after a lift to Coventry as a starting point, had been partly planned and partly left to chance, because he often worked on last-minute information supplied by friends of friends, and about how publisher Victor Gollancz had originally wanted the book he had commissioned to consist solely of the first, descriptive half, without the substantial second half. This consists largely of Orwell’s personal musings on the nature of socialism and on why people living miserable lives who could benefit from a socialist system did not actually vote for one. He explores class prejudices, including his own (he was an old Etonian), remarks on the dullness of the utopias envisaged by the likes of H. G. Wells, expresses his mistrust of mechanisation and asserts that ‘crankiness’ amongst left-wing activists puts off many would-be supporters. The Communist Party, very influential in 1937, especially its General Secretary Harry Pollitt, objected strongly to this second half, but Orwell insisted that it stay. Gollancz tried to mollify objectors by writing a special introduction.

 

Les Hurst was inexhaustible, and paused for questions after nearly an hour, but his audience was still very much with him. All questions and observations were dealt with in great detail. Orwell’s comments on crankiness were understood as coming from a man who was ‘a product of his time’. They included, for example:

 

“One sometimes gets the impression that the mere words ‘Socialism’ and ‘Communism’ draw towards them with magnetic force every fruit-juice drinker, nudist, sandal-wearer, sex-maniac, Quaker, ‘Nature Cure’ quack, pacifist, and feminist in England.” 

 

Judging from questions and from comments later, the great majority of the book was appreciated as a valuable insight into class divisions, the contrast in wealth and living conditions between the north and the south and the grinding poverty experienced by so many people in the years of the Depression, and not only then but today in the foodbanks era. Parallels were drawn.

 

On the topic of working class nutrition, for example, Orwell writes:

 

“…the peculiar evil is this, that the less money you have, the less inclined you feel to spend it on wholesome food. A millionaire may enjoy breakfasting off orange juice and Ryvita biscuits; an unemployed man doesn't… When you are unemployed, which is to say when you are underfed, harassed, bored, and miserable, you don't want to eat dull wholesome food. You want something a little bit 'tasty'. There is always some cheaply pleasant thing to tempt you.”

 

There seemed to be general agreement for this truth, judging from comments and nods from the audience. Other topics of interest included the continuing dominance of the public schools and Orwell’s fears about the advance of Fascism, which he went to Spain to fight in 1936. Time did not allow for more than a mention of the modern resonances here.

 

The session was long but very well-sustained. It made quite an impression. A number of people have been in contact with me over the past days, like the woman whose grandfather was a miner from Barnsley: “After listening to Les Hurst and reading about miners in that book, I really understood what it was like for him.”

 

  

Tuesday, 8 March 2022

International Women's Day 2022 in Headingley

Mitochondrial Eve

 Sally Bavage writes:





Heartlines Headingley Creative Writers' Group performance pieces were from: Cate Anderson; Howard Benn; Karen Byrne; Rosie Cantrell; Bill Fitzsimons; Harissa; Malcolm Henshall; Barbara Lawton; Dru Long; Liz McPherson; Linda Marshall; Myrna Moore; Eileen Palmer; Jackie Parsons; Maria Sandle; Marie Paule Sheard; Terry Wassall

Harissa
                                                                                 

Cakes


Sunday, 6 March 2022

Ray Brown's relaunch of new novel Whoosh!

 

Plenty of pathos and drama

Sally Bavage writes: 
A literary soirée! At last, after a three-year absence, Headingley LitFest hosted an event in Headingley Library with real people in actual space. Not called Zoom, but Whoosh - still a word that indicates fast-moving and risk-taking. Words that certainly characterise Ray Brown's newest novel. He is an acclaimed author and old hand at Radio4, also a local denizen whose work encompasses playscripts, broadcasting, talks, articles and longer pieces. His latest book is also published by the eclectic Armley press, which has over the past decade or so published some original and exciting work by local writers. Check out their catalogue - https://www.armleypress.com/about2-c69n

Ray whooshed us through some of the many characters in his book. And when I say characters, they certainly were. Oddball, eccentric, ornery and horny as well as argumentative, committed and occasionally almost normal. You've met the people Ray has based his writing on, or passed them in the streets you walk between the thinly-veiled venues (not even thinly in some cases!). Or heard them talking over a drink in one of the local hostelries. His motley crew of characters is both strangely gripping - and they are us! As Ray said, "Any resemblance to persons living or dead is intentional".

The events of the book take place on one Saturday afternoon and evening in May 1979. Yes, shortly after that election and when the word gay was still applied to jolly parties. It hasn't stopped some people from continuing to live - not always well - or love - not always wisely - and laugh - not always kindly. There's plenty of pathos and drama amongst the dramatis personae of these pages. An illicit affair found out, a bank manager with a secret, a domestic bully, students of human behaviour as well as the university, media types and misfits, sex and lust, arguments and desire. All normal then! And you'll find you whoosh through it, caught up in the lives of those who were probably your colleagues, your neighbours or friends.

Richard Wilcocks writes:

This book is like a large landscape painting, a landscape heavily populated, somewhat in the style of Frith's realistic Victorian masterpiece 'The Derby Day'. Brown is a realist with a sense of humour, and any Victorian connotations which are in this modern panorama of an afternoon and evening in a city still in touch with its grimy industrial past would have to be found in accounts of the underworld of that time, or in some of the many officially banned publications which once circulated widely.  Readers, that is the viewers, can linger over individual characters (most of them 'amalgamations' of people the author knows or once knew) or relish groups of people linked by snatches of superb dialogue, often startling, or funny. Brown is so good at dialogue. Leeds is not the city to be found on maps, not quite. Districts are delineated approximately, sometimes misleadingly: Burley, for example, appears as Leeds 6, not Leeds 4.

If the book was translated into one long film it would be long and fragmentary, but many of the vividly evocative scenes could be tackled by storyboarders for shorter works, which could be pieced together according to taste, or to emphasise contrasts, from the brick-built toilets on the edge of Woodhouse Moor once frequented by cottaging gays and predatory, enticing policemen to the Fenton pub near the (then) Polytechnic and the University, which was in 1979 the preferred meeting place of a very diverse range of extraordinary people, not all of them artistic, who turned it into a Leeds equivalent of Paris's Left bank. Well, sort of...

A book by the American author John Rechy, The Sexual Outlaw, was a big influence. It is a non-fiction series of vignettes about the homosexual scene in California in the seventies, and was part of the movement against oppression at the time. Brown's book is not just about gay liberation, but the author is obviously very conscious of the fact that 1979, the year of Margaret Thatcher's election, preceded a decade of tragedy and prejudice for the gay community, from the infamous Clause 28 to the hysteria which came with the beginnings of the AIDS crisis.